Richard Briers, the actor, who has died aged 79, played the engaging free
spirit who strove for a self-sufficient lifestyle in Surbiton in BBC
Television’s classic 1970s comedy series The Good Life.

Although acclaimed on television for a style of dithering comedy which reminded an earlier generation of the Aldwych farceur Ralph Lynn, Briers also proved adept in serious roles in the classics. In Kenneth Branagh’s 1997 film of Hamlet, his Polonius was praised by one critic for its “conspiratorial edge”.

In The Good Life Briers played the hapless Tom Good, a draughtsman who decided to abandon the office rat race and live off the land. Instead of moving to the country, however, he and his wife Barbara (Felicity Kendal) eviscerated the lawn at their suburban home, planted vegetables and kept livestock — all to the horror of their relentlessly middle-class next door neighbours Margo and Jerry Leadbetter (Penelope Keith and Paul Eddington).

With his omnipresent grin and boyish mannerisms, Briers proved perfect for the role. The Goods’ attempts to be truly self-sufficient were constantly thwarted by the machinations of the snobbish Margo, who feared that they were lowering the tone of the neighbourhood beyond repair; but Tom and Barbara always laughed in the face of adversity, and never lost their affection for their tormentor.

Written by John Esmonde and Bob Larbey and screened in 30 episodes between 1975 and 1978, The Good Life was probably Briers’s most famous vehicle on television. It was “a happy and somewhat rare combination of intelligent writing and superb playing”, judged the television critic of The Daily Telegraph.

From 1984 to 1987 Briers starred in another popular sitcom, Ever Decreasing Circles. Also written by Esmonde and Larbey, it featured an obsessive, middle-aged fusspot whose settled routine is unexpectedly threatened by a flashy rival for his wife’s affections. Penelope Wilton played his long-suffering wife and Peter Egan the too-smooth neighbour.

It all seemed a far cry from Briers’s earnest portrayal of the Dane in a student production at Rada of Hamlet, when his naturally rapid delivery led WA Darlington of The Daily Telegraph to liken him to “a demented typewriter”. Yet with his sense of timing, air of hapless innocence and his ability to keep the straightest of faces amid the mayhem typical of his brand of embarrassed humour, it was no great surprise that Briers went on to become one of Britain’s leading practitioners of farce and light comedy.

Briers continued to be offered television work, and starred as the Rev Philip Lambe in All In Good Faith (1985-88). Lambe, the former vicar of an affluent rural parish, had to knuckle down to life in a tough Midlands city and meet its challenging problems. But after Briers’s conspicuous success at the BBC, this series — his first for ITV — was reckoned a disappointment.

Richard David Briers was born on January 14 1934 at Merton, Surrey. His father, Joe Briers, was, among other things, a bookmaker, but found it hard to hold down a job and frittered away money in pubs. “[He was] a smashing man,” his son recalled, “but he was never settled in one job, and he was not as ambitious or acquisitive as I am. We were always on the edge, so I grew up in a slightly tense atmosphere.”

The family lived at Raynes Park, south-west London, and occasionally received handouts from a wealthy relation. Richard was educated at Ridgeway School in Wimbledon, where he failed to shine scholastically — “I never even got a Z-level” — but showed an interest in acting. The family’s flat overlooked a Rialto cinema, and he could hear the sound of the films playing below. His screen idols as a boy were James Cagney and Humphrey Bogart.

His first job, at 16, was as a filing clerk in the Strand, and after two years he endured “a further two years’ hard grind” doing similar work for the RAF during his National Service. He relieved the boredom by taking part in amateur dramatics and was encouraged in this by the actor Terry-Thomas, his father’s cousin.

Briers was offered a place at Rada, where he was a contemporary of Albert Finney and Peter O’Toole. For the first time in his young life he found himself excelling, and he won Rada’s silver medal for his portrayal of Hamlet. “Until then, I could just see failure staring me in the face,” he recalled. “Now there was a glimmer of hope.”

He made his professional debut at the Playhouse Theatre in Liverpool, where he met his wife, Ann Davies, herself an actress. “My first professional part,” Briers recalled, “was as a botanist who was mad about getting rare plants from America, and I’ve played fanatics on and off ever since.”

After touring in a farce, Something About A Sailor, and spells in rep at Leatherhead and Coventry, Briers made his first London appearance opposite one of the West End’s most famous theatrical couples, John Clements and Kay Hammond, in Lionel Hale’s comedy Gilt And Gingerbread (Duke of York’s, 1959). Other early West End work included Double Yoke (St Martin’s), It’s In The Bag (Duke of York’s) and Noël Coward’s Present Laughter (Queen’s).

Unlike some actors, Briers was not content with the notion of “resting” between jobs. His childhood poverty made him yearn for financial security; he seized every opportunity that came his way, and was careful with his money.

His break into television came in 1962, as a troubled pupil barrister in Henry Cecil’s Brothers In Law in a 13-part adaptation by Frank Muir and Denis Norden. Although he was a success in the first series, he declined to take part in a second, despite being offered double the money. “I wanted to be an actor rather than a TV personality,” he explained, although in the event it was television that drove his career forward.

Created specially for him, Marriage Lines (1963-66) was the series that established him in the public eye. Briers starred as a young man adjusting to married life with his former secretary in a small flat in Earl’s Court, south-west London. The series ran for 45 episodes and helped Briers to establish the amiably enthusiastic comic persona that became his signature.

His stage career continued in parallel, his most notable parts being Mortimer Brewster in Arsenic and Old Lace (Vaudeville, 1966); Moon in The Real Inspector Hound (Criterion, 1968); and — two of his favourite roles — as Butley in the play of the same name in 1972, and Sidney Hopcroft in Absurd Person Singular at the Criterion in 1973.

In 1972 Briers returned to Shakespeare in the title role of Richard III on a provincial tour for Toby Robertson’s Prospect Productions. A decade or so later he earned further critical respect, particularly as Hjalmar Ekdal, the naive father in Ibsen’s grim masterpiece The Wild Duck (Lyric, Hammersmith, 1980), and as Uncle Vanya, for Kenneth Branagh’s touring Renaissance Theatre Company.

Briers’s television career continued to flourish with parts in The Other One (1977-79); One-Upmanship (1976-78); and the Alan Ayckbourn trilogy The Norman Conquests (ITV, 1977). When he befriended Kenneth Branagh, the young actor cast Briers in stage productions of Twelfth Night (1987), King Lear, A Midsummer Night’s Dream (both 1990) and Coriolanus (1992), and in his film versions of Henry V (1989), Much Ado About Nothing (1993), Frankenstein (1994) and In The Bleak Midwinter (1995). Hitherto Briers’s film career had been comparatively low-key, with appearances in A Matter Of Who (1961), All The Way Up (1970) and Rentadick (1972).

Between 2000 and 2005 Briers played the engagingly dotty laird Hector MacDonald in the BBC Television series Monarch of the Glen, alongside Susan Hampshire, Alastair Mackenzie and Julian Fellowes.

Off camera, Briers’s pursuits were essentially suburban: gardening or drinking in the garden, golf, entertaining friends and reading. He took a particular interest in theatre history, and was a member of the Garrick. He published four books, Natter Natter (1981); Coward and Company (1987); A Little Light Weeding (1993); and A Taste of the Good Life (1995).

For many years Briers and his wife divided their time between a house in Bedford Park, west London, designed by Norman Shaw, and a country cottage to which he escaped as often as he could.

He was appointed OBE in 1989 and CBE in 2003.

Diagnosed with emphysema in 2008, he estimated that he had smoked half a million cigarettes before giving up the habit in 2003.